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Sunday, June 14, 2015

ANNOTATIONS FOR PRIMAVERA

Hannibal Annotations – Primavera

FULL SCRIPT

A Note on the Episode Title

Time Index

Event

Notes

00:35-06:40

Reliving Tragic...Memories?

While a few of the opening cuts are slightly edited and re-shot, most of what we relive from Episode 213, Mizumono is actually lifted footage from that episode. Of course, since they have the original footage, there is entirely different music, and possibly an even darker hue cast over Hannibal’s house.

04:08-04:15

Will: “I already did.”

The shot of Will saying that he’s already changed Hannibal is different than the one that features in Episode 213, Mizumono.

It’s important to notice that this is the only shot between the three characters in Hannibal’s kitchen that changes between Episodes 213 and 302.

Because it’s the only significant difference (Will says “I already did” without smiling as he did in Mizumono) of the revisited sequence, it’s more likely that another take of the scene was used in place of the former rather than that they re-shot it strictly to avoid Will’s smile that was used in the first place.

05:50-06:20

The Differences

Some of the differences between Episode 213, Mizumono and Episode 302, Primavera in this instance is the presence of sound! The music doesn’t invade their gasps as they bleed out in Primavera like it does in Mizumono.

We see the full sequence this time. There are no cuts away to Hannibal exiting his home and letting the rain bathe him. While we know that Alana is outside and Jack is in the pantry, we don’t get the shot of Alana in shock or the stillness of Jack’s arm as Bella answers his desperate phone call.

The shot doesn’t fade away on the dying stag, which represents the bond between Hannibal and Will.

06:20-06:40

Drowning in blood

Here we get some entirely new (still) shots of Will, Abigail, and the stag drowning in what-seems-to-be the Ravenstag’s blood.

Bryan teased that this episode would have more blood than the Overlook Hotel’s elevators (a reference to The Shining), and he really wasn’t kidding. Who knew it would be in Hannibal’s kitchen?

06:40-07:00

Will drowning in blood

The drowning motif is entirely continued on from Episode 301, Antipasto, when Bedelia imagines drowning in the blackness in the bathtub.

Maybe Bedelia is drowning in darkness because of the constant dance she has with the devil (aka Hannibal), and Will is drowning in blood because of his inability to cope with the death he’s caused by “provoking” Hannibal (especially in Episode 213, Mizumono)...and maybe Will more like Hannibal than he thought and that’s why it’s blood and not blackness...

07:50-08:35

Hello, doctor?

The doctor checks up on Will and gives him a sip of water when Will expresses his thirst. Then the doctor leaves while saying that there is someone there who is very anxious to see him.

Does Will imagine the doctor? Or does Will imagine the doctor saying that he has a visitor? ...or is this all actually happening?

08:55-09:20

“Time did reverse…”

Here we do get new footage of Episode 213, Mizumono in a way! Except it’s in reverse. To follow through with Stephen Hawking’s metaphor, the teacup did come together, only to be broken again. (Abigail flies through time back to before her throat was slit, but then time resumes its normal course, and we see Hannibal cut her again).

10:20-11:50

Will: “It’s hard to grasp...what would’ve happened...what could’ve happened, and in some other world did happen.”

Abigail: “I’m having a hard enough time dealing with this world. Hope some of the other worlds are...easier on me.”

Will: “Everything that can happen, happens. It has to end well...and it has to end badly. It has to end every way it can. This is the way it ended for us.”

Abigail: “We don’t have an ending. He didn’t give us one yet. He wants us to find him.”

Will: “After everything he’s done, you’d still go to him?”

Abigail: “If everything that can happen, happens, then you can never really do the wrong thing. You’re just doing what you’re supposed to.”

Hugh Everett III was an American physicist who first proposed the theory that all alternative histories and futures exist, each representing a very real and actual world. The theory was proposed in 1957, but was popularized during the 1960’s and 1970’s and was renamed the Many-worlds interpretation.

This theory was thought to resolve many paradoxes at the time, considering that it offers up an explanation that allows all outcomes to occur at once in separate “worlds.”

It is now a mainstream theory that is very obviously explored in the dialogue between Will and Abigail in this episode.

The linoleum knife coming from within him or the premature birth of the Ravenstag? I think it’s the latter.

Will’s mind is fixated on going back to Hannibal, which is evident from his conversation with Abigail. He’s in post-breakup/denial phase.

Since the stag is a symbol of his relationship with Hannibal, and it died the night of Episode 213, Mizumono...it would only make sense that it would have to be born again. Why not out of his belly? Right before he wakes up somewhere familiar, too...

12:15-14:15

Will’s Memory Palace

From Hannibal, Chapter 103:

“Clarice Starling's memory palace is building as well. It shares some rooms with Dr. Lecter's own memory palace - he has discovered her in there several times but her own palace grows on its own. It is full of new things. She can visit her father there. Hannah is at pasture there. Jack Crawford is there, when she chooses to see him bent over his desk…”

In this television interpretation of the Thomas Harris books, Clarice Starling cannot be a major character just yet. Actually, she can’t even feature yet - they don’t have the rights. But she is significant to Hannibal. Since she has not featured, and the show really explores the relationship between Hannibal and Will, some of the significant aspects of Hannibal and Clarice’s relationship are used in Hannibal and Will’s.

12:41

Will’s outfit and all of those falling papers

Look familiar? It should. Will Graham last stood in Hannibal’s library while wearing that outfit in Episode 213, Mizumono. Hannibal and Will burned everything they could together.

This scene takes us back to an odd perspective of Mizumono at around 09:55-13:51.

13:00

Will’s burning Clock Drawing

Will’s Clock Drawing Test burns in Will’s hand as he holds it just as it burned in Episode 213, Mizumono when Will throws it in the fire at 10:50.

13:10-13:40

First the dialogue:

Hannibal: “When we have gone from this life, I will always have this place.”

Will: “In your ‘memory palace?’”

Hannibal: “My palace is vast, even by medieval standards. The foyer is the Norman Chapel in Palermo; severe, beautiful, and timeless with a single reminder of mortality: a skull graven in the floor.”

From Episode 213, Mizumono at 11:25-12:00:

Hannibal: “When we’ve gone from this life, Jack Crawford and the FBI behind us, I will always have this place.”

Will: “In your memory palace?”

Hannibal: “My palace is vast, even by medieval standards. The foyer is the Norman Chapel in Palermo. Severe, beautiful, and timeless. With a single reminder of mortality. A skull. Graven in the floor.”

13:10-13:40

The shots from Episode 302, Primavera:

Hannibal: “I will always have this place.”

Will: “In your ‘memory palace?’”

This is said with Hannibal and Will’s backs turned to the library.

Hannibal: “My palace is vast, even by medieval standards.”

Hannibal says this while looking up from the flames.

Hannibal: “The foyer is the Norman Chapel in Palermo;”

This is said while looking across from one another, papers falling in the background, and a duplicate Will Graham observing from a far.

Hannibal: “..severe, beautiful, and timeless with a single reminder of mortality: a skull graven in the floor.”

This is said while Hannibal looks at Will, slowly turning back to the fire.

Will then doesn’t look into the fire. Instead, he locks eyes with his duplicate, and the conversation apparently ends there.

The shots from Episode 213, Mizumono at 11:25-12:00:

Hannibal: “I will always have this place.”

Will: “In your ‘memory palace?’”

This is said with Hannibal and Will’s backs turned to the fire.

Hannibal: “My palace is vast, even by medieval standards.”

Hannibal says this while turning from looking out at the library.

Hannibal: “The foyer is the Norman Chapel in Palermo.

This is said while looking across from one another. There are no papers falling, and there is not an observing Will Graham. But...it’s the same exact shot used in Primavera, just unedited.

Hannibal: “Severe, beautiful, and timeless. With a single reminder of mortality. A skull. Graven in the floor.”

This is said while Hannibal looks at Will, slowly turning back to the fire. It’s the same exact shot used in Primavera.

The conversation then continues after Will looks into the fire.

14:00-14:15

The skull graven in the floor

Hannibal’s memory palace has the foyer of the Norman Chapel in Palermo, with a skull graven in the floor. It makes sense that Will’s memory palace would share some rooms with Hannibal.

Especially since in Hannibal, Chapter 103:

“Clarice Starling's memory palace is building as well. It shares some rooms with Dr. Lecter's own memory palace - he has discovered her in there several times but her own palace grows on its own. It is full of new things. She can visit her father there. Hannah is at pasture there. Jack Crawford is there, when she chooses to see him bent over his desk…”

14:35

Norman Chapel in Palermo

8 months later and Will thinks it’s a good idea to go to the Norman Chapel in Palermo based off of his conversation with Hannibal about memory palaces. Maybe Hannibal likes it so much that he’s run off there...

15:15-15:30

Abigail and the priest

Abigail and the priest make some noticeable eye contact that seems to leave them both pretty confused.

Strange how he and Will are the only two people that see her, isn’t it? If she’s not alive, is she a really a figment of Will’s inflamed/scarred consciousness? Because the priest seeing her suggests otherwise...

Abigail: “We all know it, but nobody ever says that G-dash-D won’t do a G-dash-D-damned thing to answer anybody’s prayers.

From Hannibal, Chapter 8:

“Crawford and Starling were like medical missionaries, with little patience for theology, each concentrating hard on the one baby before them, knowing and not saying that God wouldn't do a goddamned thing to help. That for fifty thousand Ibo infant lives, He would not bother to send rain.”

16:30-17:20

Will says “Nothing would thrill Hannibal more than to see this roof collapse mid-Mass, packed pews, choir singing...He would just love it. And he thinks God would love it, too.”

Then imagines the ceiling starting to crack and crumble onto his hands.

This is a reference to Hannibal’s ongoing “obsession” with roofs collapsing in churches.

From Red Dragon, Chapter 36:

“You may have noticed in the paper yesterday, God dropped a church roof on thirty-four of His worshipers in Texas Wednesday night - just as they were groveling through a hymn. Don't you think that felt good?”

From The Silence of the Lambs, Chapter 3

“I collect church collapses, recreationally. Did you see the recent one in Sicily? Marvelous! The facade fell on sixtyfive grandmothers at a special Mass. Was that evil? If so, who did it? If He's up there, He just loves it, Officer Starling. Typhoid and swans--- it all comes from the same place.” [said by Hannibal Lecter]

From Hannibal, Chapter 8:

"He thought what happened to me would . . . destroy, would disillusion me about the Bureau, and he enjoys seeing the destruction of faith, it's his favorite thing. It's like the church collapses he used to collect. The pile of rubble in Italy when the church collapsed on all the grandmothers at that special Mass and somebody stuck a Christmas tree in the top of the pile, he loved that. I amuse him, he toys with me. When I was interviewing him he liked to point out holes in my education, he thinks I'm pretty naive." [said by Agent Starling]

17:40

Hannibal’s broken heart

Antony Dimmond’s death results in his body being twisted and sculpted into a giant heart, being propped up by…swords? Resembles something…

Insp. Pazzi: “You’re a long way from Baltimore. I read everything I can find on FBI profiling methods. I read all about your incarceration.”

Will: “Keep reading. I was acquitted.”

Insp. Pazzi: “You come to Palermo, and soon - very soon - a body is discovered. The priest at the Cappelli dei Normanni [Norman Chapel] said you have been spending a lot of time there.”

Will: “I’ve been praying.”

Insp. Pazzi: “There is some comfort in prayer. It leaves you with the distinct feeling that you’re not alone.”

Insp. Donaggio: “Signore...vieni con me. [Sir...come with me.]”

Insp. Pazzi: “Ciao. [Bye.]”

Chief Investigator Pazzi is first introduced in Hannibal, Chapter 17:

“Chief Investigator Rinaldo Pazzi of the Questura…”

From Hannibal, Chapter 17:

“Pazzi worked like a man possessed. He called on the American FBI's Behavioral Science section for help in profiling the killer and read everything he could find on FBI profiling methods.”

From Hannibal, Chapter 35:

“There was some comfort in prayer, Pazzi reflected, leaving the chapel - he had the distinct feeling, walking out through the dark cloister, that he was not alone.”

20:40-21:32

Insp. Pazzi: “Is Will Graham here because of the body at the cappella [chapel], or is the body here because of Will Graham?”

Will Graham: “Why are you here?”

Insp. Pazzi: “I’m like you. I do what you do. We share the gift of imagination.”

Will Graham: “I’ve got the scars of a man who grabbed his gift by the blade.”

Insp. Pazzi: “You grabbed the wrong end. Those moments when the connection is made, that is my keenest pleasure.”

Will Graham: “Knowing.”

Insp. Pazzi: “Knowing. Not feeling, not thinking. You know who murdered that man and left him in the Cappella Palatina.”

Will Graham: “Don’t you know?”

The first mention of Inspector Pazzi’s gift of imagination is from Hannibal, Chapter 17:

“Pazzi imagined that success came as a result of inspiration. His visual memory was excellent and, like many people whose primary sense is sight, he thought of revelation as the development of an image, first blurred and then coming clear. He ruminated the way most of us look for a lost object: We review its image in our minds and compare that image to what we see, mentally refreshing the image many times a minute and turning it in space.”

From Hannibal, Chapter 17:

“Pazzi did not head the Questura investigation division for nothing - he was gifted and in his time he had been driven by a wolfish hunger to succeed in his profession. He also carried the scars of a man who, in the haste and heat of his ambition, once seized his gift by the blade.”

From Hannibal, Chapter 17:

“In that moment when the connection is made, in that synaptic spasm of completion when the thought drives through the red fuse, is our keenest pleasure. Rinaldo Pazzi had had the best moment of his life.”

From the Red Dragon film, near the end:

“...be grateful, our scars have the power to remind us that the past was real.” [written by Hannibal Lecter]

Insp. Pazzi: “I met him 20 years ago. Il Mostro [The Monster], the Monster of Florence. It was his custom to arrange his victims like a beautiful painting. Il Mostro created images that stayed in my mind. 20 years ago, I was dwelling on a couple found slain in the bed of a pickup truck in Impruneta. Bodies placed garlanded with flowers…”

Will Graham: “Like a Botticelli.”

Insp. Pazzi: “Exactly like a Botticelli. His painting Primavera still hangs in the Uffizi Gallery in Florence, just as it did 20 years ago. The garlanded nymph on the right, the flowers streaming from her mouth, match. Match…”

Will: “The Uffizi Gallery - that’s where you met Il Mostro?”

Insp. Pazzi: “That’s where I met… this man. The Monster of Florence.”

From Hannibal, Chapter 17:

“Even as he worked the important museum bomb case, Il Mostro's created images stayed in Pazzi's mind. He saw the Monster's tableaux peripherally, as we look beside an object to see it in the dark. Particularly he dwelt on the couple found slain in the bed of a pickup truck in Impruneta, the bodies carefully arranged by the Monster, strewn and garlanded with flowers, the woman's left breast exposed.

Pazzi had left the Uffizi museum one early afternoon and was crossing the nearby Piazza Signoria, when an image jumped at him from the display of a postcard vendor.

Not sure where the image came from, he stopped just at the spot where Savonarola was burned. He turned and looked around him. Tourists were thronging the piazza. Pazzi felt cold up his back. Maybe it was all in his head, the image, the pluck at his attention. He retraced his steps and came again.

There it was a small, fly-specked, rain-warped poster of Botticelli's painting Primavera.

The original painting was behind him in the Uffizi museum.

Primavera. The garlanded nymph on the right, her left breast exposed, flowers streaming from her mouth as the pale Zephyrus reached for her from the forest. There. The image of the couple dead in the bed of the pickup, garlanded with flowers, flowers in the girl's mouth. Match. Match.”

21:38

“il Mostro”

The Monster of Florence (“il Mostro”) was an actual epithet commonly used for the perpretator(s) associated with 16 murders between 1968 and 1985 in Florence, Italy. The same gun and pattern were used in all of the murders.

Four local men were arrested, charged, and convicted of the crime at very different times. Each conviction was heavily criticized by the media, and it’s among popular belief that the real killer(s) have never been truly identified.

While some of these details were preserved in the novel Hannibal, some things were changed and added. For instance, it is implied that Hannibal committed the il Mostro murders somewhere in the 1980’s or 1990’s based off the painting Primavera. None of that is true in reality.

23:00

“The Monster of Florence”

The edited product used in Episode 302, Primavera

The photo is an edited mashup of an old photo of Mads Mikkelsen from his Danish television show Rejseholdet and a photo of Hannibal’s production designer Rory Cheyne in order to achieve a younger look. This was confirmed by Bryan Fuller via Twitter.

A photo of Mads Mikkelsen from Rejseholdet (2000-2004)

Hannibal’s awesome production designer Rory Cheyne

23:10-25:00

Insp. Pazzi: “Success comes as a result of inspiration. Revelation is the development of an image, first blurred, then coming clear. To find the inspiration il Mostro used was a triumph. I went to the Uffizi and stood before the original primavera day after day and most days I’d see a young Lithuanian man as transfixed by the Botticelli as I was; as transfixed as I imagined il Mostro would be. And every day I saw him… he would recreate the Primavera in pencil, just as he did in flesh. I knew. It was the best moment of my life, a moment of epiphany that made me famous and then ruined me. In haste and the heat of ambition, the Questura nearly destroyed the young man’s home trying to find evidence.”

Will: “Well… he doesn’t leave evidence.”

Insp. Pazzi: “No, he doesn’t.”

Will: “He eats it.”

Insp. Pazzi: “Another man - not an innocent man, but innocent of those crimes - was a dream suspect. He was convicted on no evidence except his character.”

Will: “Blame has a habit of not sticking to Hannibal Lecter. Hmm.”

Insp. Pazzi: “It has a habit of sticking to you.”

From Hannibal, Chapter 17:

“Pazzi imagined that success came as a result of inspiration. His visual memory was excellent and, like many people whose primary sense is sight, he thought of revelation as the development of an image, first blurred and then coming clear.”

…

“Pazzi was excited for two reasons. To find the image Il Mostro used was a triumph, but much more important, Pazzi had seen a copy of Primavera in his rounds of the criminal suspects.

He knew better than to flog his memory; he leaned and loafed and invited it. He returned to the Uffizi and stood before the original Primavera, but not too long.”

Pazzi references Hannibal being of Lithuanian descent, which is a reference to Hannibal Rising.

“The sworn and besashed jurors, five men and five women, convicted Tocca on almost no evidence except his character.”

27:15-28:45

Rebirth of the ‘Hart’ aka the Ravenstag is definitely coming back

The heart morphs into the beginnings of the Ravenstag, continuing the theme from Will’s hospital bed. This suggests that Will traveling to Palermo has somehow strengthened the relationship between Will and Hannibal. I assumed it will full form into a Ravenstag upon their eventual meeting face-to-face.

This theory is supported by what Will says to Abigail following the hallucination:

Will: “I do feel closer to Hannibal here. God only know where I would be without him.”

A very popular pun that was implied is that the heart morphed into a “hart” - an archaic word meaning “stag.”

Bryan Fuller refers to the monstrous hallucination as Stagenstein.

30:00-30:15

Will: “It’s Lucy and the football. He just keeps pulling you away.”

A reference to the running gag in the famous comic strip Peanuts, where Lucy constantly pulls the football away just as Charlie Brown goes to kick it. The gag has also featured in other Charlie Brown media.

Lucy is a jerk...but Hannibal can be too...

31:20

Where was Sogliato to say: “Abigail lives? I think not.”

So Abigail Hobbs is officially dead. But there was that scene with the priest! So maybe she wasn’t entirely a figment of Will Graham’s imagination. Maybe she was actually haunting him…

Also, I personally wonder if this will lead up to the scene in Red Dragon, where Will tells his stepson about the Hobbs family. If so, that will have a much deeper meaning.

From Red Dragon, Chapter 15:

"...Hobbs had caught this girl from behind and he had a knife. He was cutting her with it. And I shot him." [said by Will Graham].

"Did the girl die?" [asked by stepson - Willy Foster]

"No." [Will]

"She got all right?" [Willy]

"After a while, yes. She's all right now.” [Will]

34:25-37:03

Insp. Pazzi: “Are you… praying?”

Will: “Hannibal doesn’t pray. But he believes in God - intimately.”

Insp. Pazzi: “I wasn’t asking Hannibal Lecter.”

Will: “I think my prayers would feel constricted by the saints and apostles and Jesus Pantocrator. How do your prayers feel?”

Insp. Pazzi: “I hope my prayers escaped, flown from here, to the open sky and God.”

Will: “Praying you catch him? You should be praying he doesn’t catch you.”

Insp. Pazzi: “I didn’t head the Questura di Firenze for nothing.”

Will: “You couldn’t catch him when he was just a kid; what makes you think you’re going to catch him now?”

Insp. Pazzi: “You.”

Will: “What makes you think I want to catch him?”

Insp. Pazzi: “Signor Graham…”

Will: “If you could possibly be content, I would suggest you let il Mostro go.”

Insp. Pazzi: “I can’t do that anymore than you can.”

Will: “He’s going to kill you, you know. I’m usually right about these things.”

Insp. Pazzi: “He let you know him. He sent you his heart. Where has he gone now?”

Will: “He hasn’t gone anywhere. He’s still here.”

From Hannibal, Chapter 35:

“He felt his prayers constricted by the circle of apostles on the ceiling, and thought perhaps the prayers might have escaped into the dark cloister behind him and flown from there to the open sky and God.”

“You’re trying to catch him yourself, aren’t you, Inspector? ...I cannot warn you strongly enough against that. He killed three policemen down in Memphis, while he was in custody, tearing the face off one of them - and he will kill you too if you -” [said by Clarice Starling]

41:00-41:25

Will: “Buonanotte, commendatore.”

Simply translates to “Goodnight, commander.”

Hannibal is one of the only people that refers to Inspector Pazzi as “commendatore.” The first instance occurs in Hannibal, Chapter 19.

3 comments:

I just wanted to know what Will said to Pazzi in Italian but I was gifted with so much more. Something that you didn't acknowledge but I'm curious to know what you think: do you think there is any significance to Hannibal being pictured in front of Saint Ambrose at ~32:00?

Yeah, this one was pretty long! The great thing about the show is: sometimes these episodes have a reference just about every 30 seconds. This one had A LOT in it!

Thank you for asking about Saint Ambrosius! I actually forgot to add that in there, but I definitely meant to.

This is kind of a stretch, but I can't really think of any other reason to use him in that shot.

There's a story where Ambrosius claimed to have been punished by a nightmare in which he was ordered to search for the remains of two Christian martyrs - Gervasius and Protasius. He finds them under the pavement of the church, and their remains allegedly looked as if they had just died even though they would've died hundreds of years before the dream.

He claimed all of this in order to gain the support of the people in order to maintain influence.

A comparison I can see is that: not long after the shot of Saint Ambrosius, we're in the catacombs with Will, Hannibal, and Inspector Pazzi. We see some dead bodies, too. Also, the entire episode is very dream-like.

Another comparison could be: right before the shot of Ambrosius, Will recognizes that Abigail is dead and she disappears. So maybe this was to add to the supernatural/imaginative/dreamlike sequence of Abigail's presence throughout the episode?

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